By Noah Augustin
The orchestra told stories. The introduction came as a musical masquerade of practicing instruments from the mystery of the backstage. In pairs of three, all dressed in black, the focused ensemble stepped on stage. The audience of friends and family greeted them with waves and smiles. The performance commenced with Professor George Rothman conducting on Sept. 26, with all 24 musicians performing three classic compositions in the Don Buchwald Theater.
Sam Andonian, the concertmaster–also known as the lead violinist–gave the note to which all others tuned their instruments. Maestro Rothman introduced himself, and at the first supersonic lift of his baton the performance began.
For the first composition, “St. Paul’s Suite” by the Englishman Gustav Holst, the orchestra played four festive movements which resembled an old English family singing older English folk songs after a holiday feast of meat and beer. Indeed, Holst was well-known for bringing new life to folk standards in his compositions as part of a cultural folk-revival in England during the early 20th century. BC’s performers had broken their first sweat, and the theater’s hall was full of applause.
Next was Mozart’s funeral song, “Maurerische Trauermusik,” a tribute to Don Buchwald, namesake and founder of the theater, who passed away this summer. Buchwald was a Brooklyn College graduate who became the agent to famous radio personality Howard Stern.
“Trauermusik” translates from Mozart’s native German to “sorrow music,” a fitting title. It ends, however, on a bright C major chord perhaps to signify that the dead smile at their final destination, wherever that may be.
The show culminated with “L’arlésienne Suite 1,” composed of four movements by French composer George Bizet who composed the suite for a play of the same name, which translates to “The Girl from Arles.” The first act, to which this piece was dedicated, follows a young man who has grown quite fond of a lady from the southern town of Arles, so much so that he has become sick with love, refusing to eat or sleep. Such passionate juxtapositions of an alternating militaristic march and a nostalgic, romantic tune displayed their relationship.
“These guys are so perceptive, and so smart, and so responsive. It’s great!” Rothman boasted about the musicians. “They’re eager to get new information and explore things they’ve never done before, and when they get it they’re so happy about it.”
Though dedicated to the philharmonic, the musicians have desires to play in other types of ensembles. Ysabella Fernandez, a cellist, hopes to become a jazz teacher. “Classical is great,” she said. “But jazz is my passion.”
Violinist Andrea Hernandez, on the other hand, wants to stay within this world: “Classical is all I know, I can’t imagine life without it.” She curates classical music playlists for an Italian record label named Halidon Music. Hernandez believes playlists are one of the things keeping classical music alive for young people who no longer care about a particular symphony, but instead look to classics because they fit a particular vibe or moment.
Bassist Bakari Williams, currently pursuing his masters degree, explained that classical music will always have a place in the music landscape. “[Classical music dying] has always been a concern […] but I feel like the crowds today are the same size as they were fifty years ago.”
To all these musicians who make up a cacophony of different perspectives and trajectories in the musical landscape, one thing is for certain: classical music is here to stay.
The Brooklyn College Conservatory has scheduled their next array of orchestral music for Nov. 5. For more information on shows and tickets, students can visit the BC Conservatory of Music on their Instagram, @bcmusic.nyc